Bob Money (Quattrini Roberto Stuttgart April 1, 1965) is an international sculptor and painter born into a family of Italian immigrants in Germany where he stayed for the first years of his life in the city of Stuttgart. Back in Italy, in 1981 he studied drawing and bronze casting at the Edgardo Mannucci School of Art in Ancona. At the same time he dedicated himself to musical studies and in 1991 he graduated in piano and French horn at the Gioacchino Rossini Conservatory in Pesaro. In recent years he experimented with various painting and sculpture techniques specializing in bas-relief on canvas defined by Donald Anthony Preziosi sculpture on canvas. (Collection "Cosmogonia"). Since 2005 he collaborates with several national and international artists with particular attention to polycarbonate and wire mesh sculptures including "The Aground Siren", published in the book "Mario Dondero" and "Quadro Inverso" sculpture created from the famous photo taken by Pier Paolo Pasolini da Dino Pedriali with whom he works in 2014 on the project "Pasolini with Scratch". He collaborates with several international galleries as an independent artist and is published in the most important art catalogues ".For years he has been working on a hybrid formula between painting and sculpture, a sort of atypical bas-relief that now characterizes and orients him. He acts for thematic cycles, united by the link with specific "nuclear" personalities, ascribable among the archetypes of radical thought: Pier Paolo Pasolini, Gino De Dominicis, Dino Pedriali, Mario Dondero, Letizia Battaglia...very hot icons that the artist studies and re-elaborates with a magmatic approach, weaving solid semantic plots around their moral codes, similar to a volcano that forges icons, distills esoteric inserts and false tracks, building new metaphysics around his idea of portrait. The result is a complex organism that metabolizes pop clues and kitsch drifts, Novecento tensions and oriental symbologies. The works become layers of themes and styles, new anabolic avatars that dilate the imagery of reference. Different yet complementary, the works reason within the western canon of the figure/icon, where matter bubbles and transforms but the body maintains the Leonardesque centre of History". Gianluca Marziani